Graphic Design and Animation Graduates 2012

Online portfolio and print on demand catalogs for Graphic Design and Animation graduates from the Department of Design 2012. On this page you will find our conference presentations, and by hovering over the menu groups on the left you can read contextual documents. You are welcome to attend our Grad Show, opening on 29 November 2012 at 6pm, and daily from 30 November to 6 December 9.30am – 4pm.

Eva Martin

The intention of my project is to visually express and map the Avondale community through the medium of pattern. My interest is in capturing the significance of the community drawing on cultural patterns of the residents through an illustrative and hand drawn approach. My target audiences are Avondale residents, the community center and active community groups within Avondale. The framework for my project will be a series of patterns for the Avondale Community. I will also have a publication that will provide information about the project.

OBJECTIVE 1

To look at the ways in which community based arts projects can create active engagement within a community as a way of forming a strong sense of identity and worth. I am particularly interested in how this can be communicated through the medium of pattern.

OBJECTIVE 2

To examine the semiotics of abstract pattern within Maori and Pacific Island culture. I want to look at the importance of pattern to these cultures as a visual language and narrative. I am interested in looking at these two cultures because of their relevance to my chosen community as well as the important role pattern has played within their cultures historically as a means of communication.

OBJECTIVE 3

To explore how pattern can be interpreted as a form of Graphic visual communication, examples including promotional design, info graphics and illustrators who have adapted this method. To examine the role the pattern inherits as well as the historical connotations when applied within different contexts whether it be fabric, wrapping paper, or print.

OBJECTIVE 4

To research the historical origins of pattern within textile design and it’s defining of a culture/identity. I will be looking at how Western culture appropriated motifs of other cultures to create new associations in textile design. This idea is one that am considering within my own work. Through creating new patterns with western and pacific influences, they will create positive associations while as well as having acknowledgement and understanding of the cultural heritage of the community.

My turning point came when I realized the importance pattern has to my work. In previous work I have always subconsciously gravitated towards pattern, however it has never come to the fore in my projects. I now realize the importance pattern has to my work, and my ability to extrapolate key motifs of a place or story and create visual stories through pattern.I have changed my research direction to looking at the historical and contemporary patterns such as books with collections of European textiles as well as contemporary Designers and illustrators who have revived pattern in new and unexpected ways. I am also interested in looking at the multi-cultural aspect of Avondale having influence in my patterns. This has resulted in research into Pacific and Maori patterns and their ability to tell a narrative.

This is my first semester publication that I made which was research based looking at craft communities and how that can be implemented within the Rosebank community.
As you can see there is a consistent aesthetic of pattern  throughout the publication. The content and the visual however had no clear connection.

This is a brainstorm for a tutorial in week 2 when I realized I needed to change my focus, and began to look at a new direction of ideas such as the connotations of pattern when applied in different contexts like wrapping or clothing and the different historical and contemporary pattern research I could conduct.
Last Semester we made a proposal with objectives and methods for a year long project. After realizing my turning point I then created a new proposal with objectives and weekly methods which is still in the draft process but has given me more purpose and direction.

Last semester I participated in the 100 days project, which was an online format open to any creative person, the goal being to make or do something for 100 days. For my 100 days project I decided to make postcards for Rosebank. It was through this project that I began to have a tendency towards making patterns. Participating in the 100 days project gave me a daily structure and routine to creating work. This I found was an effective method for me as I have a tendency for delaying making. This semester I created my own self-directed 100 days project. I am coming to realize is that this has become a new strategy of research in that through making patterns I am learning about the balance, scale, and composition of the pattern.

 

Sem 1 100 days project: Making a postcard about Rosebank for 100 days

http://rosebankpostcards.tumblr.com/

Current 100 days project: Making a pattern for 100 days

http://100dailypatterns.tumblr.com/

Through my work I want to visually capture the essence of the Avondale community through the medium of pattern. I will be drawing on cultural influences of people in the area as well as spaces within the community. I began taking photographs of spaces within the community as starting points in creating my patterns.

I want to create patterns that visually communicate a story and a space in a way that essentializes what that community is about, creating a different way of reading a narrative about the place and the people.

Assumptions I have drawn while creating this work have been that cultural diversity plays a big part within the Avondale community; I therefore want to create patterns that pull on the different traditional patterns of the different cultures within the area. So far, I have been referencing pacific patterns in my work. Assumptions of colour would be vibrant and garish contrasting against faded muted colours to reflect cultural diversity as well as how the community has inhabited old spaces.

 

 

I have explored this approach through creating hand drawn patterns that draw on photographs I have taken on site visits. Although time consuming I chose to hand draw the patterns because I felt it gave a human quality, especially in the more structured patterns I have made.

While site photographing I was particularly interested in observing repetitive structure within Avondale whether this be in architecture or objects, I am beginning to experiment with these and merging them with pacific patterns

I also begun creating colour palettes from the photos I took, as a source to use for my patterns.




From visiting the Avondale race course I created a pattern influenced by the fence using a fence sillouhette as a structure for my pattern

These are the different color variations I experimented with. The pattern was initially hand drawn but it was drawn accurately so it did not look effective.

I tried to work with the colors of the photographs I took of the race course so it felt like it was part of the race course. This is a work in progress

This pattern was influenced by the red crates outside of a fruit shop in the Avondale township. I designed the structure in InDesign and colored in by hand, which gave in my opinion a much more depth than flat colors if done digitally.

This is a pattern influenced by the chinese shops in Avondale, I decided to use the structure of a chinese pattern and combine it with the frangipani flower, this is still a work in progress.



This is a more illustrative approach to pattern which is what I did last semester. There are many things I have to consider like the balance and consistency of the pattern. It is important to not have too many big objects as I have found from creating these patterns.


With research I have looked at historical references of pattern such as western textile design as well as traditional pacific patterns of people who live in Avondale.

Patterns of Polynesia. Tonga / [Ailsa Robertson]

Textile designs : two hundred years of European and American patterns for printed fabrics organized by motif, style, color, layout, and period / Susan Meller, Joost Elffers ; photographs by Ted Croner.

Textile designs : two hundred years of European and American patterns for printed fabrics organized by motif, style, color, layout, and period / Susan Meller, Joost Elffers ; photographs by Ted Croner.

Textile designs : two hundred years of European and American patterns for printed fabrics organized by motif, style, color, layout, and period / Susan Meller, Joost Elffers ; photographs by Ted Croner.



 

Lucienne Day, textile Designer

I have also looked at contemporary work of illustrators and designers who have interpreted pattern in their own way. I can see the potential within my own patterns to assume a range of roles such as textile fabrics, wrapping paper, bags, book covers, publication and even digital files.

Lucy Meyle, a Graphic Designer who created a book of patterns that played out a comic narrative

Lucy Meyle

Harriet Seed, Illustrator

Harriet Seed, Illustrator

Pattern Foundry, a design company that sells online patterns. I was interested in the way that pattern can be interpreted in a graphic design context and that the patterns themselves can be sold online.

Reuben Patterson, artist. This is a Maori artist that I thought of who is an example of someone who reinterprets traditional Maori motifs.

 

THE DESIGNER PROCESS

In first year we were taught that the design process is a constant and ongoing cycle. This is a map of what I define as my process for this project and previous projects. On reflection I realize that I need to allow more time for analysis, experimentation, and reflection as a way of seeing what I had done and what realistic amount of work I could create within the timeframe we had.

 



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This entry was posted on August 26, 2012 by in Uncategorized.
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